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The Winery at Spring Hill, Lake Erie Covered Bridge White
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/winelabels/12/thumbnail.jpgThis semi-sweet labrucsa white wine label features Ashtabula County’s Netcher Road covered bridge in Jefferson Township and is the area’s only red covered bridge. Dedicated in 1999, it is 110 feet long, 22 feet wide, just over 14 feet high and features cupolas and a copper roof at each end.</p
The Winery at Spring Hill, Lake Erie Covered Bridge Hertiage
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/winelabels/15/thumbnail.jpgSpring Hill’s Heritage is a semi-sweet blend of Concord, Catawba, and Niagara grapes and features the West Liberty Street covered bridge. Funded by Ohio Public Works Commission grant dollars and constructed by Ashtabula County Technical and Career Campus students, the covered bridge is the nation’s shortest and crosses over Geneva’s Cowles Creek.</p
Kent State University at Ashtabula & Laurello Vineyards: Grand River Valley Sunburst Riesling (2017)
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/winelabels/16/thumbnail.jpgNamed after the sunburst logo of Kent State University and produced from Riesling grapes produced in the Grand River Valley region, "this inaugural release of Kent State Ashtabula wine is dedicated in memory of our founding program director, Dr. Kent Glaus."</p
A Magazine Spring 2017
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/amag/5/thumbnail.jp
1980s, Winter at Debonne Vineyards
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/debonne_images/26/thumbnail.jpgOutdoor winter pavillion view of the winery
Minding Their Own Business: Five Female Leaders from Trinidad and Tobago
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/facultybooks/115/thumbnail.jpgMinding Their Own Business: Five Female Leaders from Trinidad and Tobago is a narrative project that illuminates the historical legacy of entrepreneurship, self-employment, and collective economics within the African diaspora, particularly in the lives of five women leaders of African descent from Trinidad and Tobago, in the Caribbean. By using the financial literacy lens as an analytical tool to interpret these biographies, this book documents the journeys of these independent business women, uncovers the literacy skills they employed, and describes the networking skills that they relied upon personally and professionally. The qualitative data collection methods utilized in this project help to identify lessons that will inform professionals, educators, and business and lay persons about the innovative ways in which teaching and learning take place outside of “formal” business schooling. Information gleaned from this study also serves to broaden traditional understandings of entrepreneurship and economic strategies inherited from majority African descended communities. Additionally, this book illuminates the creative and intellectual modes of learning within the Afrocentric communities that foster successful business practices. Finally, these five successful women pass on to interested learners their methods of modeling, encouraging, and celebrating the means by which independent business people make a positive impact on society.</p
2017 Full Schedule
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/womensleadership/2017/fullschedule/1/thumbnail.jp
Making Core Memory: The Women who put Man on the Moon
No full textDaniela Rosner, University of Washington
Samantha Shorey, University of Washington
This workshop uses a moment in engineering history to examine craftwork’s intellectual contribution to innovation—how craftwork becomes hardware manufacturing and hardware manufacturing becomes craftwork. During the Cold War, magnetic-core memory was the principal mechanism with which computers stored and retrieved information. The Apollo mission computers stored information in core memory ropes—threaded wires, passed through or around magnetized metal rings. NASA engineers nicknamed this hardware “LOL memory” for the “little old ladies” who carefully wove wires around the electro-magnetic ferrite cores by hand. Drawing on this weaving process, participants in this workshop will create a collaborative quilt made up of core computing memory “patches” to re-materialize the work of the core memory weavers. The participants will be given “patch kits” comprising a simple metal matrix, beads and conductive threads (in place of ferrite core and wire). Plugging the patches into the electronic quilt triggers the quilt to play firsthand accounts of 1960s core memory production while sending tweets via our @lolweavers account. By collectively weaving core memory patches, the workshops explores the contributions of embodied, gendered forms of knowledge that allow innovators to imagine new ways of making, remembering and performing engineering histories. Beyond filling gaps in histories of innovation, the project uses craft to imagine our relationships to technology afresh, with its intersections of theory and practice, activism and understanding, and intervention and insight.
Daniela Rosner is an assistant professor at the University of Washington.
This was a workshop on June 1, 2017. 1:00–3:00pm (SCI L106)</p
Books, Robots, Algorithms, and Architectures
No full textAnne Burdick, ArtCenter College of Design
What can we learn from the configurations of books, people, architecture, ontologies, and technologies of three libraries prized for their innovative design? This paper will examine the search interfaces, sociotechnical infrastructures, and physical environments of the Seattle Public Library, the Joe and Rika Mansueto Library at the University of Chicago, and Sitterwerk, an art library in St. Gallen, Switzerland. Each library will be understood as an “indexical landscape” — Shannon Mattern’s term for spaces that are “shaped to refer to their own organized content and operative logics” — against a backdrop of the mixed digital/physical technologies seen in fulfillment centers and dark supermarkets, along with newly accessible augmented and virtual reality (AR and VR) tools and headsets.
Within each library, design and information science merge in the spatial layout and digital systems of the libraries themselves. Sitterwerk, which calls itself a “dynamic library,” is a modest yet provocative experiment in participatory curation and the integration of digital and physical infrastructures through the use of RFID tags and robotic scanners. The Seattle Public Library is famous for its “book spiral,” which allows the collection to be arranged in an uninterrupted flow from beginning to end. The design of the Mansueto Library in Chicago attempts to solve a massive storage issue by putting the entire collection underground, accessible only through a system of bar codes, storage algorithms, human workers, and robots.
In spite of its small size, Sitterwerk’s organizational concept works across all platforms and scales, from the website to the archive to the stacks. Where the libraries in Seattle and Chicago may appear to be more ambitious due to the massive physicality and prominent architectural statements of their buildings, the online search tools for each are ordinary, off-the-shelf pages of form fields and lists, an anemic experience for researchers who never make it into the physical space. One might ask why the institutions did not invest equally in the development of new forms of digitally-enabled “rich-prospect browsing” (Ruecker) that crosses the digital-physical divide, matching the ambitions of the built environments. Regardless, the question provides an opening to consider the design of a browsing experience that gives researchers a sense of a collection as a whole, affords the pursuit of associative connections, and provides the ability to wander and discover rather than to simply search.
The design challenge gets even more interesting with the rise of accessible tools for creating computationally-generated spatial experiences through both augmented reality (AR) and virtual reality (VR) gear and software. Designers and library scientists may now work together to generate qualitatively different embodied experiences for the researcher in the context of collecting, storing, and accessing textual materials across digital and physical spaces. Building upon insights and ideas garnered from the Seattle Public Library, Mansueto, and Sitterwerk experiments, the paper concludes by outlining a new project whose goal would not be to simulate the analog materiality of the stacks but to imagine a third thing ‚— a kind of spatialized environment whose digital materiality/textuality affords a multi-modal/multi-dimensional/multi-disciplinary quest that winds its way to/through/within/around/beyond books.
Anne Burdick is the Chair of Graduate Media Design Practices at the ArtCenter College of Design.
This was a Long Paper Session: Print to Digital on June 2, 2017. 2:30–4:30pm (SCI 106)</p
Entrepreneurship-Corporate Identity Interdisciplinarity
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/node/17022/86803-thumbnail.jpgJan Ballard, Texas Christian University
The Entrepreneurship-Corporate Identity Program offered Graphic Design undergraduates a new opportunity for interdisciplinarity beyond the classroom, matched students with entrepreneurs in need of authentic design solutions for start-up businesses. The program’s concept was proven viable through a limited Spring 2016 pilot that paired 21 design students with entrepreneurs from TECH Fort Worth and the Dallas Entrepreneurship Center.
The process produced a Corporate Identity package for their entrepreneur start-up partners, which included a logo, stationery package, website landing page mockup, and a basic Brand Standards Guideline. Students combined their new knowledge of the entrepreneur’s product or service with their design knowledge and skills. The student designer entered their start-up partner’s world and through listening, questioning, reading and additional background research, developed a base of knowledge sufficient to produce materials that visually communicated to the business owner’s satisfaction and demonstrated effectiveness in a competitive marketplace. Through practical application, gained an understanding of the design process, along with the associated information gathering and problem solving, helped to shape a mind more adept at interdisciplinary inquiry.
The Entrepreneurship-Corporate Identity Program incorporated a number of key concepts from interdisciplinarity research, the core of which is synthesis, or the combination of elements created something new:
1) Creativity required interdisciplinary knowledge. Graphic design required that the creator apply not only the tools of their discipline, but background knowledge from other disciplines.
2) Many problems required interdisciplinary approaches. Solved problems in emerging technology and medical innovation that involved an understanding of scientific, social and other factors. Effective graphic design required an understanding of the entity for which one designed and its context.
3) Experiential Learning. Interdisciplinarity promoted the relevance of learning to the world-at-large, and “doing” fostered understanding. While design students obtain lots of hands-on practice with projects in the classroom, going outside the classroom for experience greatly enhanced learning.
Download PDF: Jan Ballard Entrepreneurship-Corporate Identity Interdisciplinarity
Jan Ballard holds the BFA from University of Illinois at Urbana-Champaign. She joined the Texas Christian University faculty in 1986. Since then she has taught and assisted in the development of a gamut of courses including Typography, Corporate Identity, Publication Design, Professional Recognition, Portfolio and Marketing, and Senior Thesis. Her teaching provides students with a solid foundation of the history and anatomy of type, and an examination of the principles of hierarchy and legibility at work within an individual letterform, to sentence, to paragraph, to page. In her professional practice, she has worked for local design studios, regional advertising agencies, and a national public relations firm. Jan’s design work has been featured in Print’s Regional Design Annual, Fort Worth ADDY Awards, and International Association of Business Communicators’ Bronze Quill Awards. She is committed to arts in elementary education and is a founding board member of the Fort Worth Academy of Fine Arts charter school. Recently, Jan was selected as one of fifteen international participants in the School of Visual Art (SVA) Masters Workshop in Rome with co-founders Steven Heller and Lita Talarico. She worked with faculty including Louise Fili, Mauro Zennaro, and James Clough. She is also a frequent attendee and presenter at TypeCon sponsored by the Society of Typographic Aficionados (STA). Jan has been nominated for the Wassenich Award for Mentoring, and was honored as the Faculty of the Year in the TCU College of Fine Arts by the TCU Student Government Association.
This was a Poster Session on June 2, 2017. 4:00–4:30pm (SCI Lobby)</p